An incredibly brief, foggy, quasi symphonic intro with Marduk-like vocals pronouncing some indecipherable gibberish, followed by minimalist and recklessly fast riffs could fool one into thinking this is precisely a Marduk clone. In truth, there are mid-paced sections interspersed here and there to mitigate the onslaught of the indecipherable and impetuously fast sections. This upgrades this release to a later Marduk clone. Although probably upgrade is not the most accurate descriptor here.
The best and undeniably valuable product of extremely fast, loud and unrelenting black metal has been contributed in the last few years by albums like Advent Parallax and in the veritable modern classic Godless Arrogance. Marduk, on the other hand, was always wild abandon to mindless, truly mindless, speed and minimalism for the sake of it and more importantly for the joke of it.
But while Marduk are explicitly joking about everything they write about while staying somewhat seriously offensive, Infernal Execrator manage to sound like a joke more easily acceptable among the Godflesh Apocalypse extreme metal crowd. The words Ad Infinitum Satanic Adherent themselves are more than enough warning that this should be placed besides the likes of Tol Cormpt Norz Norz Norz. The only difference is that Impaled Nazarene triumph in the same way that Sharknado does: by embracing the joke and being happy with it. These Singaporeans purport to be more (by calling posers out) while not being able to take themselves entirely seriously. Fans of the Marduk, Behemoth and Cannibal Corpse will find this release palatable and fashionable.
Following up the band’s debut album Tol Cormpt Norz Norz Norz, Impaled Nazarene opened the silo once again to release their deadliest missile of truly Brahmastric proportions with 1993′s Ugra Karma. Roughly translating from the original Sanskrit into ‘bad actions’, the album’s title indicates the nature of this distinctive blend of Punk, Black Metal and other styles and sounds, as a dance of destruction atop the accumulated filth of the modern world. The updated artwork of a hooved, nuclear Nataraja performing this world-ending ritual over desecrated damsels and making occult gestures in front of an inverted pentagram takes this idea further in a profound hybrid of apocalyptic Hindu and Satanic imagery which also heavily underlies the musical approach of Ugra Karma. The deep, muscular bass-work in these anthems of armageddon give power to aggressive and militarised Punk-like guitar riffs imbued with a majestic, Black Metal sense of melodicism and pace. Their target is in sights, the riffs transform imminently like the complexion of a scene changing upon the arrival of Harrier squadrons from over the horizon, to rain hell on harmless victims! It’s these simple and incredibly conclusive narratives that give each song such a depth of expression, with the finality of a Vedic chant. Drums are overbearing and industrious in their sound, maintaining a constant beat that drills the blasphemous, mystical revelations of doom into the listener with a Nazistic authority, leading a new SS to purge the world of its undesirables. Impaled Nazarene present with all of their hatred not only the downfall of the world they despise, but the primal law which will bring that land of light and love to its knees, sodomise it and replace it with evil.